Tuesday, Wednesday, and Thursday

It’s been crazy-busy, but I’m doing my best to keep up, and loving every minute of it! Mornings are spent at Institute sessions — the power, intellect, passion, and genuine concern the artists share about their effort defies description, my words aren’t ‘right’ enough to tell it — you just have to be here.

Jessica Care Moore Poole, poet, performance artist, producer and publisher, stepped beyond her role as facilitator to that of featured guest artist Tuesday morning. She counts herself among Sekou Sundiata’s (initially scheduled as featured artist) cultural daughters, and quickly demonstrated his influence to her delivery when reciting poems based on personal experience, current events, social commentary, and life.

The evening performance of Ceremonies in Dark Old Men, by the True Colors Theatre Company was so much better than expected — previous experiences with the play were good, but it tends to showcase a sequence of monologues. The current production showcases the great direction of Kenny Leon with phenomenal talent at his disposal. The actors extended themselves to the point of ensemble, making the relationships between characters real, their (dys)function palpable, and their challenges heart wrenching. The issues faced by the ’60s-era African American family have changed little in this new millennium, and the struggle to make right choices is no less daunting. In an after-the-play dialogue with the audience, cast and crew, Mr. Leon (who also temporarily portrays the role of Blue Haven in place of the ailing E. Roger Mitchell), stressed the importance of reviving classic Black plays or risk an erosion of knowledge about their contribution to the craft and the lessons they reveal.

Eight o’clock in the morning seems to happen earlier, and earlier (actually it does, given that I’ve moved from CST to EST), but I’m motivated to make my way to the Hammonds House each morning, via MARTA from my Midtown hotel. The commute puts me in touch with everyday Atlanta, sharing rapid transit with workers from far-flung Metro area bedrooms, students heading for one of several post-secondary educational institutions, and travelers making their way to the Airport. Wednesday’s trip was rewarded with visual artist Radcliffe Bailey’s discussion, facilitated by Karen Cromer Lowe. He talked about the influences, inspiration, and in some part, ritual for his creative process. His current exhibition, a collaboration between musician Marc Anthony Thompson and choreographer Fatima Robinson, is divided between two venues at the Clark Atlanta University gallery and Solomon Projects — I promised additional information, and we’ll get to that, later (it really deserves its own entry). The afternoon stroll through the Artists Market at Greenbriar Mall just hurt my feelings to gaze upon all the wonderful art for walls, three dimensional pieces, art to wear, and more — with so little resource to bring any of it home!!! That’s OK, because at least I have the memories of how fine it all looked — it’s better to appreciate the exposure than to live in an other-than-blissful ignorance.

Thursday morning with musician Vinx heightened my awe of people who devote themselves to mastery of their creative process. He is also dedicated to mentoring others and spreading the word about how important it is to identify, encourage, and nurture, the creative genius in each of us. An early professional performance with Taj Mahal served to reinforce his parents’ contention that the heart and soul of being an artist primarily means being empowered to have an opinion and the freedom to express it creatively. Taj Mahal picked Vinx to perform at the Montreux Jazz Festival after hearing him at a local café; before the performance Vinx asked the legend, “What do you want me to play?” — in response Mahal gave the liberty for Vinx to decide, adding that he would get what he needed from the younger musician. The workshop session included an incredible demonstration with Vinx using the tabletop as an instrument to accompany his uniquely vocal styling. It just set me up for another ‘can’t wait’ until his performance with Les Nubians and Julie Dexter Friday night.

But not before traipsing through the Vendors Market Thursday afternoon at Atlantic Station (more heartbreak — it’s criminal to be in financial transition … that’s the new euphemism for ‘broke’) filled with artisan crafts great information. The performance stage onsite is a showcase for local emerging talent, so I took the opportunity to sit on the set by McKnight and Company, led by Shonda (sp) McKnight, a young singer from the northeast on keyboards backed by percussion, standing bass, and guitar. Her duet with Alex Lattimore hearkened memories of the Marvin Gaye/Tammi Terrell, et al, Robert Flack/Donny Hathaway, and Will Downing/Rachelle Ferrell romantic collaborations. Look for her; it’s just a matter of time.

I’m sorry the non-stop jazz musings of Abdullah Ibrahim on Thursday night are just indescribable. It was just too good. I was mesmerized. I know I keep saying this, but you just have to be here.